REMBRANDT   AND  HIS  ETCHINGS 

A  COMPACT  RECORD 


GOODSPEED'S 


MONOGRAPHS 

No.  4 


REMBRANDT  AND  HIS  ETCHINGS 


No.  i6S.    Rembra^idt  Leaning  on  a  Stone  Sill. 


REMBRANDT   AND   HIS  ETCHINGS 


A  COMPACT  RECORD  OF  THE  ARTIST'S  LIFE, 
HIS  WORK  AND  HIS  TIME.    WITH  THE  COM- 
PLETE  CHRONOLOGICAL  LIST  OF 
HIS  ETCHINGS  COMPILED 
BY  A.  M.  HIND,  OF 
THE  BRITISH 
MUSEUM 

By 

LOUIS  A.  HOLMAN 


1921 

CHARLES  E.  GOODSPEED  6c  CO.,  BOSTON 


Copyright  1921,  bv 
K.  GOODSPKED  &  CO 
All  rights  reserved. 


REMBRANDT   AND   HIS  ETCHINGS 


IVo.  ii6.    Two  Tramps. 


FAIR  &  bewtiful  citie, 
and  of  sweete  situa- 
tion" and  famous  for 
'^ye  universitie  wherwith 
it  is  adorned  such  was 
Leyden  as  the  fresh  eyes 
of  the  youthful  William 
Bradford  saw  it  when  the 
little  company  of  Eng- 
lish exiles,  later  revered 
as  the  Pilojrim  Fathers, 
sought  asylum  in  Hol- 
land. The  fame  of  Leyden  was  to  be  further  per- 
petuated, although  Bradford  knew  it  not,  by  one 
who  had  but  just  been  born  there  when  the 
English  pilgrims  came  to  the  friendly  university 
town  ;  one  who  has  added  to  the  fame  of  his  native 
place  chiefly  because  he  did  not  attend  that 
university,  which  seemed  so  attractive  to  young 
Bradford.  The  father  of  this  boy  determined  that 
he  should  have  a  collegiate  education  that  he  might 
sometime  hold  a  town  office,  and  fondly  hoped  that 
he  was  preparing  him  for  it  (in,  perhaps,  the  very 
schools  attended  by  the  English  children),  when  the 
lad  made  it  clear  to  all  men  that  he  had  no  head  for 
Latin  and  a  very  decided  talent  for  drawing.  So  it 
came  to  pass  that  at  the  time  Bradford  and  his 
friends  set  their  faces  toward  America,  and  per- 
force turned  their  backs  upon  that  ''goodly  &  pleas- 

5 


ante  citie  which  had  been  ther  resting  place  near 
twelve  years,"  Rembrandt  Harmens  van  Kijn,  th(^ 
youngest  son  of  a  miller  of  Leyden,  turned  his  face, 
too,  from  the  old  toward  the  new.  They  sought 
liberty  to  live  and  to  worship  according  to  the  bright 
light  in  their  hearts  ;  he,  too,  sought  liberty  to  fol- 
low in  a  no  less  divinely  appointed  path,  impelled 
thereto  by  an  irresistible  force  which,  after  half  a 
century,  retained  all  its  early  vigor.  They  broke 
from  the  ways  of  their  fathers  and  bore  an  import- 
ant part  in  the  development  of  the  great  American 
nation  ;  he  emancipated  himself  and  his  art  from  the 
thraldom  of  tradition  and  conventionality  and  be- 
came the  first  of  the  great  modern  masters  of  art. 

The  twelve-years'  truce  between  the  humiliated 
Dons  and  the  stocky  Dutchmen  was  now  nearing 
its  end,  and  Bradford  says,  ''There  was  nothing 
but  beating  of  drumes,  and  preparing  for  warr." 
This  was  one  of  the  reasons  why  the  peaceable  Pil- 
grims sought  a  new  home  beyond  the  sea.  But 
Rembrandt,  already  absorbed  in  his  art-studies,  saw 
nothing,  heard  nothing  of  these  preparations  ;  his 
ears  were  deaf  to  the  drum-beats,  his  eyes  were 
seeing  better  things  than  the  ''pride,  pomp  and  cir- 
cumstances of  glorious  war."  There  can  be  no 
question  about  his  utter  lack  of  interest  in  things 
military.  When,  at  long  intervals,  he  tried  war- 
subjects  (as  most  men  sooner  or  later  try  their  hand 
at  the  thing  they  are  least  fitted  for)  he  failed  piti- 
fully. He  could  create  a  masterpiece  of  a  "  Man  in 
Armor,"  or  a  "Night  Watch,"  where  the  problems 

6 


were  purely  artistic,  and  swords  and  flags  were 
simply  bits  of  fine  color,  but  the  painting  or  etch- 
ing that  breathed  the  actual  spirit  of  war  he  could 
not  produce.  There  is  matter  here  for  rejoicing. 
War  and  her  heroes  have  had  their  full  quota  of  the 
great  artists  to  exalt  their  work.  And  now  comes 
one  who  loved  the  paths  of  peace.  With  brush  and 
etching-needle  he  made  record  for  all  time  of  the 
dignity  and  rare  beauty  which  he  found  in  ordinary 
hum-drum  walks  of  life.  We  may  even  say  that  he 
exalted  doctors  and  artists,  housemaids  and  shop- 
keepers, yea  even  the  very  street-beggars,  into  such 
important  personages  that  their  portraits  are  still 
eagerly  sought  after  by  the  great  ones  of  the  earth. 

It  was  during  the  lifetime  of  Rembrandt  (1606- 
1669)  that  much  of  the  wonderful  development  of 
Holland  took  place.  She  had  come  to  her  great- 
ness gradually,  but  by  the  middle  of  the  seventeenth 
century  she  occupied  a  leading  place  among  the  in- 
dependent nations  of  Europe.  Great  discoverers, 
like  Henry  Hudson,  had  given  her  new  dominions 
east  and  west,  and  colonization  had  besfun.  On  the 
sea  her  flag  was  supreme ;  her  merchant  marine, 
going  to  and  from  her  own  possessions  was  seen  in 
every  port  of  the  world ;  her  admirals,  Ruyter  and 
Tromp,  had  won  her  an  illustrious  place  forever  in 
the  annals  of  naval  warfare.  These  were  the  days 
of  Milton  and  Ben  Jonson ;  of  Cromwell,  Gustavus 
Adolphus  and  Richelieu  ;  of  Murillo,  Rubens  and 
Van  Dyck  —  days  when  Holland  had  within  her  own 
borders  such  men  as  Barneveld,  the  great  statesman  ; 

7 


Grotius,  the  father  of  international  law  ;  Spinoza, 
the  philosopher  and  John  de  Witt,  the  Grand  Pen- 
sioner—  besides  that  noble  group  of  artists:  Hals, 
Cuyp,  Ruysdael,  Potter,  Steen  and  Ostade.  These 
days,  too,  saw  the  settling  of  many  states  in  America, 
the  founding  of  Quebec,  New  York  and  Boston. 

Strangely  apart  from  all  these  history-making 
movements,  and  from  his  peers  among  men,  dwelt 
Kembrandt,  the  great  master,  in  Amsterdam,  serenely 
happy  to-day  in  painting  a  portrait  of  his  loved 
Saskia,  to-morrow  in  etching  the  features  of  a  wan- 
dering Jew.  He  had  given  himself,  body  and  soul, 
to  his  art,  and  no  man  or  movement  of  men  could 
distract  him  from  his  work.  Year  by  year  his  busy 
brain  and  dexterous  hand  produced  paintings,  etch- 
ings, drawings,  in  slightly  varying  proportion,  but 
always  in  amazing  quantity.  For  his  forty-one 
productive  years  we  find  to  his  credit  the  average 
annual  output  of  thirteen  paintings,  nine  etchings, 
and  thirty-nine  drawings.  And  these  numbers  would 
be  materially  greater,  doubtless,  had  we  a  full  record 
of  his  work. 

A  few  decades  ago  the  ordinary  person  thought  of 
Rembrandt  only  as  a  great  painter ;  that  time  has 
fortunately  passed.  Modern  engraving  methods 
have  made  it  possible  to  spread  broadcast  reproduc- 
tions of  his  etched  work.  Thanks  to  these  mechan- 
ical engraving-processes  some  of  Rembrandt's  etch- 
ings are  now  familiarly  known  and,  to  a  degree  at 
least,  they  are  appreciated.  No  reproduction,  how- 
ever, can  ever  give  the  subtle  quality  of  the  original, 

8 


and  a  revelation  comes  to  one  who  looks  for  the 
first  time  on  some  brilliant,  early  impressions  of  his 
famous  plates.  The  ink  is  still  alive  ;  the  Chinese 
or  Japanese  paper  which  Rembrandt  generally  used, 
has  sometimes  gone  very  yellow  and  spotted,  but 
oftener  it  has  the  fine  mellowness  of  age.    We  treat 


No.  I.    RembrandV s  Mother. 

it  with  respect,  almost  with  reverence,  for  we  re- 
call that  these  very  sheets  of  paper  were  dampened 
and  laid  upon  the  etched  plate,  already  prepared  by 
the  hands  of  the  great  etcher  himself.  Each  im- 
pression he  pulled  was  as  carefully  considered  as  the 
biting  of  the  copper  plate.  He  varied  the  strength 
of  the  ink,  the  method  of  wiping,  the  pressure  used  ; 

9 


knowing  the  possibilities  of  his  plate,  he  so  manipu- 
lated it  that  it  responded  to  his  touch  as  a  piano 
responds  to  the  touch  of  a  musician.  The  poor  im- 
pressions and  very  late  states,  of  which,  unfortun- 
ately, many  exist,  are  generally  the  work  of  those 
mercenary  ones  into  whose  hands  the  plates  fell 
after  his  death  —  sometimes  even  before.  Like  a 
man  with  no  music  in  his  soul  attempting  to  improve 
upon  a  sonata  by  Beethoven,  these  people  not  only 
printed,  haphazard,  poor  impressions  having  the 
master's  name,  but  sometimes  even  undertook  to  re- 
arrange the  composition  and  often  to  rework  the 
plate. 

A  hundred  years  before  Rembrandt's  time  acid 
had  been  used  to  help  out  the  graver.  Diirer,  among 
others,  used  it,  and  he  employed  also,  but  in  hesitat- 
ing manner,  the  dry-point  with  its  accompanying 
burr.  Rembrandt's  method  of  utilizing  the  rough- 
ness thrown  up  on  the  copper  by  the  dry-point 
needle  was  a  development  of  its  possibilities  that  no 
one  else,  even  among  his  own  pupils,  has  ever  equaled. 
It  was  much  the  same  with  everything  else  :  the 
burin  of  the  professional  engraver  he  handled  so 
skilfully  that  it  is  impossible  to  tell  where  the  acid 
or  the  dry-point  work  stopped  and  the  reinforcing 
work  of  the  ofraver  be2:an.  When  others  tried  to 
combine  these  methods  they  failed.  The  hand  of 
Rembrandt  was  the  obedient  servant  of  his  master- 
mind :  so  well  trained  was  it  that  with  a  prelimin- 
ary sketch  or  without  it,  the  needle  produced  on  the 
smoked  wax  surface  of  the  copper  the  picture  which 

10 


No.  210.  Omval. 


floated  before  him,  so  correctly  that  the  brain  was 
not  diverted  from  the  ideal  picture  by  any  crudity 
in  the  lines.  If  the  tools,  methods,  and  effects 
which  the  great  engravers  had  used  suggested  any- 
thing to  him,  he  freely  took  them  up  and  bent  them 
to  his  will.  Making  free  use  of  all,  binding  him- 
self to  none,  he  always  remained  the  versatile,  in- 
dependent student.  And  the  strangest  thing  about 
it  all  is  that  he  appears  to  have  recognized,  grappled 
with,  and  forever  solved  the  problems  of  the  art 
while  nothing  but  a  youth.  One  of  the  two  etch- 
ings which  bear  the  earliest  date  (1628)  and  signa- 
ture is  known  as  Rembrandt's  Mother  :  Head  and 
Bust"  (No.l.)    It  is  a  delightful  little  plate,  drawn 

11 


witli  all  the  skill  and  freedom  of  a  practiced  hand. 
Frederick  Wcdniore,  an  English  authority  on  etch- 
ing says  that  ''nothing  in  Rembrandt's  work  is  more 
exhaustive  or  more  subtle,"  and  S.  K.  Koehler,  an 
American  authority,  called  it  '^a  magnificent  little 
portrait,  complete  artistically  and  technically,"  and 
very  truly  refers  to  it  as  "a  prefiguration  of  whnt 
was  to  come."  A  man  of  twenty-two  years  already 
a  master- etcher  ! 

This  etching  measures  just  about  two  and  a  half 
inches  square.  There  are  others  about  the  size  of 
a  postage-stamp,  while  the  largest  one,  "  The  Descent 
from  the  Cross  "  (No.  103),  is  twenty-two  by  sixteen 
and  a  half  inches.  The  amount  of  la1)or  on  these 
large  plates  is  overpowering,  while  the  workman- 
ship in  the  smaller  ones  is  almost  unbelievably  fine 
— think  of  a  child's  face  not  over  one-eighth  of  an 
inch  wide,  and  hands  less  than  a  sixteenth  of  an 
inch  across,  yet  really  eloquent  with  expression  I 

Rembrandt  accepted  the  assistance  of  his  pupils, 
as  who  among  the  old  masters  did  not?  He  was, 
however,  not  practical  enough  to  profit  much  by 
them :  he  could  work  to  much  better  advantage 
alone.  Among  his  thirty  or  forty  pupils  Ferdinand 
Bol,  who  came  to  his  studio  when  only  sixteen, 
and  stayed  for  eight  years,  gave  his  master  most 
assistance.  Bol's  rendering  is  at  times  very  much 
like  Rembrandt's.  Some  critics  think,  for  instance, 
that  he  etched  most  of  the  Gold  weigher "  (No. 
167)  and  ''Abraham  Caressing  Isaac"  (No.  148); 
both,  however,  are  signed  by  Rembrandt.  When 

12' 


these  pupils  established  studios  of  their  own,  they 
made  free  use  of  their  old  master's  compositions^ 
subjects  and  figures. 

With  Jan  Lievens,  his  fellow  student  at  Lastman's 
studio,  with  van  Vliet,  Koddermondt  and  other 
engravers  and  etchers  of  the  time,  Kembrandt  was 
on  terms  of  great  intimacy.  They  appear  often  to 
have  worked  on  the  same  plate,  and  to  have  borrowed 
each  other's  ideas  ''without  let  or  hindrance."  In- 
deed, it  is  hard  to  comprehend  the  extent  to  Avhich 
exchange  of  ideas  was  carried  at  that  time.  Here 
is  a  good  illustration  of  the  way  things  went  without 
protest  of  any  sort  being  raised.  Hercules  Seghers 
etched  a  large  landscape  with  small  figures,  after  a 
painting  by  Adam  Elzheimer  and  an  engraving  by 
Count  de  Goudt,  entitled  "Tobias  and  the  Angel. 'V 
This  copper  plate  came  into  Rem})randt's  possession  ; 
he  burnished  out  Tobias  and  his  companion,  and  re- 
placed them  by  Joseph,  Mary  and  the  Holy  Chihl 
(No.  266).  To  cover  the  erasure  he  added  foliage, 
but  the  wino;  of  the  anoel,  the  outlines  of  a  leo;  and 
various  other  unused  portions  of  Tobias  can  still 
be  seen.  Rembrandt's  reason  for  bothering  with 
this  plate  is  incomprehensible.  He  improved  it^ 
undoubtedly,  ))ut  the  composite  result  is  exceedingly 
commonplace  and  reflects  no  credit  upon  any  one. 
John  Burnet,  the  etcher-author,  has  drawn  attention 
to  the  fact  that  the  tiofure  of  Christ  in  "  Christ  at 
Emmaus"  (No.  282)  is  taken  from  one  by  Raphael^ 
who  is  known  to  have  borrowed  it  from  da  Vinci, 
and  it  is  thought  da  Vinci,  in  his  turn,  got  it  from 

'13 


a  former  master,  liembrandt  borrowed  also  from 
Rul)ens,  Titian,  Mantegna,  his  pupil  Gerard  Don, 
Van  de  Velde  and  others.  Many  of  his  contem- 
poraries and  successors  extended  toward  him  the 
same  sort  of  flattery. 

More  than  half  the  subjects  of  Rembrandt's  etch- 
ings are  portraits  and  studies  of  the  human  figure  ; 
about  one-quarter  are  scriptural  or  religious.  There 
are  two  dozen  landscapes,  and  the  remainder  are 
allegorical  and  fancy  compositions.  We  find  then 
the  two  most  productive  sources  of  his  inspiration 
were  the  men  of  his  day  and  the  men  of  the  Bible. 
This  book  appears  to  have  been  the  only  one  he 
knew  at  all  well,  but  of  it  he  made  excellent  use. 
Despite  the  incongruities  of  his  Biblical  compositions, 
despite  the  broad  Dutch  features,  the  modern,  gor- 
geous apparel  and  side-whiskers  of  the  patriarchs, 
the  pugilistic  proportions  of  his  angels,  his  etchings 
have  a  truth  and  vital  force  that  there  is  no  with- 
standing. Perhaps  the  very  fact  that  he  clothed  his 
people  in  a  fashion  that  he  knew  well  made  his 
pictures  the  more  successful  in  reaching  the  hearts 
of  men.  In  the  all  too  realistic  "Abraham's  Sacri- 
fice" (No.  283),  in  "Joseph^s  Coat  Brought  to 
Jacob  "  (No.  104),  in  the  naive  "Rest  on  the  Flight " 
(No.  216),  and  many,  many  others,  the  story- 
telling quality  is  exceeding  strong  and  the  artistic 
work  above  criticism.  When  w^e  look  at  "David  in 
Prayer"  (No.  258),  beside  his  incongruous  four- 
post  bedstead,  we  cannot  but  feel  that  here  penitence 
and  sincerity  is  forcefully  depicted.    The  acme  of 

14 


JVo.  2go.  Jan  Lutma,  Goldsmith  and  Sculptor, 


Rembrandt's  religious  work  was  reached,  however, 
in  ''Christ,  with  the  Sick  Around  Him"  (No.  236) 
(etched  about  1650),  which  is  often  called  the  finest 
piece  of  etched  work  that  has  ever  been  produced. 
It  is  a  combination  of  pure  etching  and  dry-point, 
and  in  the  second  state,  there  is  an  India-ink  wash 
in  the  background.  There  are,  I  think,  nine  copies 
of  the  first  state  extant ;  the  last  one  sold  at  public 
auction  (Christie's,  1893)  brought  over  $8,500. 
While  the  Christ  here  is  not  so  satisfying  as  the 
one  in  "Christ  Preaching"  (No.  256)  which  is  re- 
markably strong  and  noble,  it  is  Rembrandt's  typical 
conception  of  our  Lord  —  always  ministering  to  rerl 
fiesh  and  blood,  the  poor,  suffering,  common  people. 
What  a  striking  contrast  with  the  resplendent  arti- 
ficiality which  surrounds  the  Christ  of  the  Italian 
masters. 

Rembrandt  was  his  own  most  frequent  model. 
He  painted  about  sixty  portraits  of  himself,  and 
among  his  etchings  we  find  about  two  score  more. 
Some  of  them  are  large  and  finished,  as  the  de- 
servedly popular  ''Rembrandt  Leaning  on  a  Stone 
Sill"  (No.  168),  which  is  a  perfect  example  of  the 
possibilities  of  the  etching-needle  ;  others  are  mere 
thumb-nail  sketches  of  various  expressions  of  face. 
He  used  his  mother  many  tiuies,  and  also  his  wife 
and  son.  In  all  these  is  apparent  a  delightful  sense 
of  joy  in  his  work.  Nor  is  this  desirable  quality 
lacking  in  the  wonderful  series  of  large  portraits  of 
his  friends  :  the  doctors,  the  ministers,  the  tradesmen 
of  Amsterdam.    Perhaps  these  were  pot-boilers,  as 

16 


some  students  of  his  work  say,  but  surely  never 
artist  before  or  since  produced  to  order  a  group  of 
etchings  that,  taken  entirely  apart  from  his  other 
plates  would  assure  their  author  a  high  place  among 
the  greatest  etchers.  In  the  whole  lot  there  are  few 
that  some  authority  on  etching  or  some  great  artist 
has  not  held  up  as  an  example  of  work  that  even  the 
master  himself  never  surpassed.  But  an  artist  can- 
not always  keep  himself  at  concert  pitch  and  when 
Rembrandt  etched  the  portrait  of  his  friend  "Abra- 
ham Francen"(No.  291)  I  feel  that  he  struck  an 
uncertain,  almost  false  note,  unworthy  of  himself. 
We  might,  perhaps,  account  for  this  by  saying,  that 
it  was  done  in  1656,  the  year  of  his  bankruptcy 
were  it  not  that  the  noble  "Jan  Lutma"  (No.  290) 
which  competes  with  the  "Jan  Six''  (No.  228)  for 
the  place  of  masterpiece  of  the  entire  series,  was 
made  the  same  year.  But  he  was  an  unaccountable 
sort  of  man  who  could  produce  in  a  poor,  naked 
studio,  with  untold  trouble  stalking  him  on  all  sides, 
such  an  etching  as  the  "Lutma,"  such  a  painting  as 
the  "Syndics  of  the  Draper's  Guild/'  both  of  which 
rank  with  the  best  products  of  his  happy,  care-free 
years  of  luxury. 

It  is  noticeable  that  Rembrandt  had  no  sittings 
from  persons  of  high  rank.  So  far  as  I  can  find 
^Burgomaster"  is  the  most  exalted  title  that  can 
with  certainty  be  given  to  any  of  his  patrons.  The 
reason  is  not  far  to  seek.  Rembrandt  was  not  a 
courtier  like  Van  Dyck  and  Rubens ;  he  was  too 
independent  and  too  busy  to  spend  time  kow-towing 

17 


to  society.  A  contemporary  says  of  him,  "When 
he  painted  he  would  not  have  given  audience  to  the 
greatest  monarch  on  earth."  He  cahnly  set  at  naught 
established  principles  and  conventional  rules,  in 
etiquette  as  well  as  in  art,  and  followed  the  bent  of 
his  genius  with  absolute  disregard  for  the  opinion 
of  his  fellows.  The  story  of  "Night  Watch"  is 
characteristic  of  Rembrandt  and  shows  the  whole 
situation  in  minature.  The  members  of  Captain 
Banning  Cocq's  Company  of  the  Civic  Guards  were 
flattered  by  the  offer  of  Rembrandt,  then  at  the 
height  of  his  fame,  to  paint  their  portraits.  The  six- 
teen members  destined  to  figure  in  the  picture  gladly 
subscribed  one  hundred  florins  each,  and  great  were 
their  expectations ;  but  even  greater  their  disap- 
pointment when  the  picture  was  placed  on  view. 
All  but  a  half-dozen  felt  that  they  had  a  distinct 
grievance  against  the  painter.  Had  they  not  paid 
for  portraits  of  themselves?  And  they  got — what? 
Here  a  face  in  deep  shadow,  here  one  half-hid  by  the 
one  in  front,  here  one  so  freely  drawn  as  to  be  un- 
recognizable. The  artist  had  made  a  picture,  to  be 
sure — but  their  portraits  !  Where  were  their  por- 
traits— the  portraits  they  had  paid  for  ?  Rembrandt 
had  thought  out  every  inch  of  his  picture  :  he  was 
sure  it  could  not  be  better,  and  change  it  he  would 
not.  The  resentment  was  bitter  and  deep,  and  the 
Civic  Guards  in  future  bestowed  their  favors  else- 
where. 

There  were,  however,  some  fellow  citizens  who 
recognized  his  genius  and  sincerity.    These  stood 

18 


l)y  him.  Samuel  Manasseh  I)en  Israel,  whom  Crom- 
well honored,  was  his  neighbor  on  the  Breedstraat, 
and  an  intimate  friend.  Then  there  were  Jan  Syl- 
vius and  Cornells  Anslo,  the  Protestant  ministers  ; 


No.  183.  Jacob  and  Laban  {f) 

Jan  Asselyn  and  Clement  de  Jonghe,  who  were 
artists  ;  Bonus  and  Linden,  the  physicians ;  Lutma, 
the  goldsmith,  and  young  Jan  Six,  "Lover  of  science, 
art  and  virtue."  These  and  a  few  others  are  known 
and  honored  to-day  chiefly  because  they  were  Rem- 
brandt's friends.     His  recognition  of  their  faith- 

19 


Illness  to  him  was  shown  in  a  much  more  perma- 
nent form  than  they  knew.  Good  impressions  of 
his  etched  portraits  of  these  men  are  still  to  be  seen. 
They  are,  like  all  his  etchings,  rapidly  increasing  in 
value.  A  ''Jan  Six"  sold  recently  for  over  $14,000  ; 
an  "Ephraim  Bonus"  (No.  226)  for  $9,000.  To 
possess  such  a  portrait  of  an  ancestor  is  little  short 
of  a  patent  of  nobility.  The  Six  family  of  Amsterdam 
happily  have  not  only  Rembrandt's  oil-portraits  of 
the  Sixes  of  his  day,  but  also  good  impressions  of 
the  etching  of  the  burgomaster,  and  even  the  plate 
itself — that  famous  dry-point  plate,  which  the  artist 
worked  on  for  weeks,  and  which  his  critics  have 
worked  over  ever  since.  Some  of  these  critics  hold 
that  even  Rembrandt  should  not  have  attempted  such 
complete  tonality  in  an  etching,  that  Jan  Six  urged 
him  to  it,  and  that,  in  short,  as  an  etching,  it  comes 
near  to  the  failure  line.  Other  critics  believe  that 
the  artist's  idea  was  to  show  the  utmost  extent  to 
which  the  art  could  be  carried,  and  that  in  so  doing 
he  produced  a  masterpiece.  Middleton,  for  instance, 
thinks  that  "it  is  not  possible  to  conceive  a  more 
beautiful  and  more  perfect  triumph  of  the  etcher's 
art."  Few,  it  is  safe  to  say,  can  see  a  good  im- 
pression of  an  early  state  of  this  portrait  without 
being  struck  by  its  great  originality  and  beauty,  and 
upon  closer  study,  I  feel,  a  fair-minded  person  will 
inevitably  fall  under  the  spell  of  the  w^onderfuUy 
drawn  face  and  hands,  the  deep,  transparent  shadows, 
and  the  soft,  tender  light  which  envelopes  the  whole. 
Although  Rembrandt  had  a  few  such  cultivated 

20 


No.  228.  Jan  Six. 


Tobias  and  the  A  nsel.    By  Hercules  Seghers 


friends  as  those  mentioned  above,  it  was  said  of  him 
by  a  contemporary  German  painter  that  "his  art 
suffered  by  his  predilection  for  the  society  of  the 
vulgar."  It  certainly  would  have  been  more  profit- 
able for  Rembrandt  if  he  had  always  portrayed  people 
of  position  and  wealth,  but  that  his  art  suffered  be- 
cause he  many  times  used  beggers  for  models,  it 
would  be  impossible  to  show.  An  interesting  series 
of  tramps,  peddlers  and  outcasts  began  with  the  be- 
ginning of  his  career  as  an  etcher,  and  ended  twenty 
years  later  with  the  production  of  one  of  his  most 
popular  plates,  "Beggars  Receiving  Alms  at  the  Door 
of  a  House,"  (No.  233)  a  very  freely  handled,  splen- 
didly composed  etching,  in  which  surprisingly  few 
lines  judiciously  placed  do  the  work  usually  allotted 
to  double  their  number.    A  little  plate  of  less  than 

22 


{No.  266).    The  Flight  into  Egypt. 

four  square  inches,  entitled  "The  Quacksalver,"  (No. 
139),  strikes  me  as  the  masterpiece  of  this  series. 
Although  Van  de  Velde  is  supposed  to  have  given 
Rembrandt  the  idea  for  his  drawing,  his  genius  made 
it  his  own  in  realism  and  movement,  and  in  its 
beauties  of  line,  color  and  texture.  "An  Old  Woman 
Sleeping"  (No.  129),  although  scarcely  to  be  in- 
cluded in  this  series,  is  another  that  has  wonderful 
spontaneity.  This  is  no  posed  model,  but  one  who 
has  actually  fallen  asleep  over  her  book  ;  Rembrandt 
sees  her,  and  before  her  "forty  winks"  are  over, 
she  is  immortalized,  and  probably  she  never  knew  it. 

About  1640  Rembrandt  began  etching  landscapes. 
They  are  free  and  simple  in  composition  and  treat- 
ment and  show  even  greater  force  and  more  sugges- 
tive power  than  those  that  he  painted.  Practically 

23 


all  of  his  two  dozen  landscape  plates  hold  undis- 
puted first  rank.  They  always  have  and  probably 
always  will.  In  "Landscape  with  Trees,  Farm- 
buildings  and  a  Tower"  (No.  244),  the  tower  is 
"ruined"  in  the  third  state.  A  first  state  print  at 
the  Boston  Museum  of  Fine  Arts  shows  the  tower 
in  good  preservation.  One  of  these  prints  sold  at 
auction  not  long  ago  for  over  $9,000.  Another  of 
the  exceedingly  satisfactory  etchings  in  the  series, 
one  that  has  exercised  a  great  influence  on  landscape 
etching  all  the  world  over,  is  "Omval"  (No.  210). 
Its  creator  seemed  fond  of  the  fine  old  tree  in  this 
plate.  He  used  it  several  times  elsewhere.  "Six's 
Bridge"  (No.  209)  which  is  almost  pure  outline,  and 
the  "Three  Trees*'  (No.  205),  with  its  great  sweep 
of  flat  country,  have  a  right  to  all  the  praise  showered 
upon  them.    They,  too,  are  masterpieces. 

While  Rembrandt's  genius  made  itself  manifest  in 
his  landscapes,  it  surely  is  absent  from  most  of  his 
animal  drawings.  We  must  remember  that  if  he 
ever  went  outside  of  Holland  it  was  for  a  few  months 
to  the  east  coast  of  England,  and  that  the  oppor- 
tunity for  studying  any  great  variety  of  animals  in 
either  place  was  not  great.  His  horses,  asses, 
hogs,  etc.,  improve  as  the  years  advance.  The  little 
dog  with  the  collar  of  bells  is  well  drawn.  He,  un- 
doubtedly, was  a  member  of  the  family. 

It  is  an  interesting  fact,  at  a  time  when  the  illus- 
trating of  books  and  magazines  is  such  an  important 
art,  to  know  that  Rembrandt  was  offered  and  ac- 
cepted some  commissions  to  make  illustrations  for 

24 


books.  These  attempts  to  give  form  to  another's 
ideas  were  not  successful — in  one  case  it  was  such  a 
failure  as  to  leave  it  still  uncertain  what  he  intended 
to  illustrate.  Vosmaer,  his  great  biographer,  says 
that  this  print  "  The  Ship  of  Fortune"  (No.  106),  pic- 
tures incidents  in  the  life  of  St.  Paul,  while  Michel, 
another  biographer,  thinks  that  it  illustrates  events 
which  gather  about  Mark  Anthony  and  the  battle  of 
Actium  ! 

A  score  of  men — Bartsch,  Wilson,  Blanc,  Mid- 
dleton,  Rovinski,  to  mention  a  few — have  at  sundry 
times  and  in  divers  places  compiled  annotated  cata- 
logues of  Rembrandt's  etchings.  They,  and  other 
students  like  Vosmaer,  Haden,  Hamerton  and  Michel, 
have  given  years  to  study  and  travel  in  connection 
with  their  books  on  Rembrandt.  All  lovers  of 
etching  appreciate  this  and  are  grateful.  Neverthe- 
less, it  is  amusing  sometimes  to  compare  their  ex- 
pert testimony.  About  1633  somebody  etched  a 
"Good  Samaritan."  Several  of  these  experts  re- 
gretfully, but  frankly,  admit  that  Rembrandt  is  the 
guilty  one.  Others  are  sure  that  a  pupil  did  the  worst 
of  the  work  ;  Haden  says  it  is  entirely  the  work  of  an- 
other hand  ;  while  yet  another  declares  that  of  all  Rem- 
brandt's etchings  this  particular  "  Good  Samaritan  " 
(No.  101)  is  his  favorite.  Middleton,  to  give  another 
instance,  thinks  that  the  thick  lines  from  top  to  bot- 
tom, in  the  fourth  state  of  the  Christ  Crucified  be- 
tween Two  Thieves,"  ("The  Three  Crosses")  (No. 
270)  are  not  Rembrandt's  work,  for  they  serve  "to 
obliterate,  conceal  and  mar  every  excellence  it  had 

26 


possessed."  Haden,  however,  considers  that  the 
time  of  darkness  is  represented,  and  that  this  par- 
ticular state  is  far  the  finest  in  effect.  Much  con- 
fusion arises  from  the  fact  that  sometimes  all  the 
states  of  a  plate  under  discussion  are  not  known  to 
each  critic.  The  whole  matter  of  states  is  a  con- 
fusing one.  The  old  idea  was  that  Rembrandt  pro- 
duced various  states  in  order  to  make  more  money. 
But  it  seems  plain  now  that  when  Rembrandt  changed 
a  plate  it  was  for  much  better  reasons  than  the  mak- 
ing of  a  few  guilders.  We  know,  for  instance,  that 
the  'Man  Six"  plate  was  changed  twice  to  make 
needed  corrections,  and  that  the  second  state  of  the 
first  portrait  of  his  mother  simply  carries  out  the 
original  design.  On  the  other  hand,  it  obviously 
could  not  have  been  Rembrandt  who  made  the  third 
state  of  the  "Jan  Lutma,"  with  its  hard,  ruled  lines 
and  great  unnecessary  window. 

If  in  the  days  of  hardship,  when  his  son,  Titus, 
peddled  his  etchings  from  door  to  door,  he  could 
have  foreseen  the  great  army  of  admirers  who  three 
centuries  later  should  outbid  each  other  at  auctions, 
and  make  war  in  print  over  his  experimental  plates, 
his  failures  and  his  trial-proofs — now  often  exalted 
into  ''states" — the  very  irony  of  the  thing  would 
surely  have  brought  him  genuine  satisfaction  and 
relaxation. 

Rembrandt  has  said  of  himself  that  h3  would  sub- 
mit to  the  laws  of  Nature  alone,  and  as  he  inter, 
preted  these  to  suit  himself,  he  cannot  be  said  to  have 
painted,  or  etched,  or  done  anything  in  accord  with 

27 


our  interpretation  of  recognized  or  well-grounded 
laws.  With  him  it  was  instinct,  pure  and  simple, 
from  youth  to  old  age.  He  had  no  secret  process 
of  painting  or  etching  ;  but  he  had  an  amazing  genius 
for  both. 

One  Octol)er  day  in  1669  an  old  man,  lonely  and 
forgotten,  died  in  Amsterdam.  They  buried  him  in 
the  Wester  Kerk  and,  that  he  might  not  be  con- 
founded with  some  other  old  man,  they  wrote  in  the 
"Livre  Mortuaire "  of  the  Kerk,  ''Tuesday,  8th 
Oct.,  1669,  rembrant  van  rijn,  painter  on  the 
rozengraft,  opposite  the  doolhof.  leaves  two 
children," 

Of  material  things  he  left  little  ;  but  the  two  chil- 
dren :  Cornelia,  his  fifteen  year  old  daughter,  and 
Titia,  the  posthumous,  infant  child  of  Titus,  would 
keep  his  name  alive  !  Less  than  a  score  of  years 
and  the  family  record  comes  to  an  abrupt  end.  No 
one  to-day  may  claim  descent  from  Rembrandt,  but 
his  name  has  not  perished  from  the  earth,  nor  his 
influence  abated  among  the  sons  of  men.  His  name 
took  on  new  life  when  he  laid  it  aside  ;  his  influence 
strengthened  when  he  ceased  personally  to  exercise 
it.  Who  of  us  is  not  his  grateful  heir?  Who  does 
not  now  do  loving  reverence  to  this  poor  "  painter  on 
the  rozengraft,  opposite  the  doolhof  ?  "  He  surely 
stands  among  the  immortals,  one  of  the  foremost 
painters  of  all  time,  the  greatest  etcher  that  has  yet 
appeared. 


28 


Note.— The  foregoing  article  was  published  a  few  years  ago  in  The 
Craftsman.  Of  the  many  commendations  received  at  that  time  we  print 
but  one : 

"New  York,  Dec'r.  5,  1906.  Dear  Mr.  Holman  ;  *  *  *  i  send  you  my 
special  thanks  for  your  article  on  the  etchings  of  Rembrandt.  I  have  read 
it  carefully,  and  let  me  say  plainly  that  I  think  it  is  the  best  short  treatise 
on  this  great  subject  which  ever  I  have  read.  The  knowledge  of  the  subject 
as  treated  by  many  writers  is  so  superficial— but  yours  is  profound.  You 
have  evidently  made  a  serious  study  of  your  subject.  Yours  very  truly," 
(Signed)   "  Frederick  Keppel." 


No.  i2g.    Old  IVoman  Sleeping-. 


♦COMPLETE  CHRONOLOGICAL  LIST  OF  THE 
ETCHINGS  OF  REMBRANDT 

Here  re-printed  from  Hind's  Re7nbran(U''s  Etchuigs  (London, 
1912)  by  special  arrangement  with  the  publishers,  Methuen  &  Co. 


ABBREVIATIONS.  ETC. 

h .— head  I  S.,  V  S..  etc —first  state,  fifth  state,  etc. 

b.— bust  2  S..  7  S.,  etc.— two  states,  seven  states,  etc. 

r. — right  When  no  number  of  states  is  given  there  is  but  one. 

1.— left  Mod.— Modern  impression.   (This  does  not  count 

.S*.— signed  as  a  state.) 

Z>.— dated  I— of  doubtful  authenticity.  [only, 

ab. — about  The  sizes  are  of  the  plates,— not  of  the  etched  surface 

R.— Rembrandt  When  the  states  vary  in  size  that  of  the  first  state 

Imp. — impression  alone  is  given. 

The  sizes  are  given  in  millimeters.   25  millimeters  equal  about  1  inch. 


1  R*s  Mother:  h.  &  b.  three-quarters  r. 

{After  IS.    S.(2f  D.),  1628.   2  S.  66x63 

2  R's  Mother :  h.  only,  full  face. 

{After  I S.   S.(2f  D.),  1628.   2S  85x72 
2*  R.  With  a  BroadlNose.  Ab.  1628.  70x58 

3  R.  Bareheaded,  with  high  curly  hair  :  h.  &  b.  Ab.1628.  90x72 

4  R.  Bareheaded  :  large  plate  roughly  etched  :  h.  &  b. 

S.  &  D.Un  reverse)  1629.  178x154 
4*  A^ed  Man  of  Letters.  Ab.  i62g.  238x200 

5  Peter  and  John  at  Gate  of  Temple :  roughly  etched. 

Ab.i62Q-3o,  221x170 

6  Small  Lion  Hunt  (with  one  lion).  Ab.  1629-30.  158x118 

7  Beggar  Man  and  Beggar  Woman  Conversing. 

S.&  D.,  1630.   2  S.  Mod.  78x66 

8  Beggar  Seated  Warming  Hands  at  Chafing  Dish. 

A  b.  1630.   2  S.  78x46 

9  Beggar  Leaning  on  Stick,  facing  1.  Ab.  1630.  85x46 

10  Beggar  in  Long  Cloak,  sitting  in  arm-chair.  Ab.  1630. 115x78 

11  Beggar  Seated  on  Bank.  S.  c2f  D.,  1630.  2  S.  116x69 

12  Beggar  with  Wooden  Leg.  Ab.  i63o.  3  S.  Mod.  114x66 

13  Beggar  Man  and  Beggar  Woman,  behind  bank. 

{I,  II,  ins.   S.)   A  b.  1630.   7  S.  116x84 

14  Man  in  Cloak  and  Fur  Cap,  leaning  against  bank. 

S ,  [.in  reverse).    A  b.  1630.    Mod.  112x78 

15  Beggar  in  High  Cap,  standing  and  leaning  on  stick. 

Ab.  1630,  or  later?    2  S.  156x120 


*  Impressions  of  all  of  Rembrandt's  Etchings,  except  those  listed  below, 
may  be  seen  in  the  Print  Study  Room  of  the  Museum  of  Fine  Arts,  Boston. 
2*.  3.  4,  4*.  5,  10.  25.  35,  36,  40,  41,  41a,  Alb,  Aid,  45.  46.  59.  60.  61,  64,  65.  67,  70, 
71.  74.  75.  75*.  77.  77*.  78.  78*.  79,  81,  87,  88.  102.  117,  118,  133.  166.  175,  184, 193, 
197,  207,  223,  224.  247,  261,  262,  289,  295,  300*. 


30 


16  Ragged  Peasant  with  Hands  Behind  Him,  holdinsr  stick. 

Ab.i6jo.   5  .S*.  g2X'j7 

17  Flight  into  Egypt:  sketch.  Ab.1630.   6  S.  135^84 

18  Presentation'in  Temple  (with  the  angel):  small  plate. 

S.  (2f  D.,  1630.   2  S.  120x78 

19  Circumcision  :  small  plate.  Ab.1630.  88x64 

20  Christ  Disputing  with  Doctors  :  small  plate. 

{I&IIS.    S.(2f  D.),  1630.  3  S.  Mod.  109x78 

21  B.  of  Man  ^R's  Father?),  Full  face,  wearing  close  cap. 

{A fter  IS.    S.&  D.),  1630.    6  S.  97x73 

22  B.  of  Man  (R's  Father?),  Wearing  high  cap,  three-quarters  r. 

S.&  D.,  1630.  3  S.  Mod.  105x78 

23  Bald-Headed  Man  (R's  Father?)  Profile  r.  h.  only.  b.  added  after- 

wards. S.(2f  D.,  1630.  3  S.  118x97 

24  Bald-Headed  Man  (R's  Father?),  Profile  r.;  small  b. 

S.df  v..  1630.  2  S.  57x43 

25  Three  Studies  of  Old  Men's  Heads.  Ab.1630.  79x81 

26  B.  of  Old  Man  with  Flowing  Beard  and  White  Sleeve. 

Ab.1630.  71x64 

27  B.  of  01  d  M  aniwith  Flowing  Beard  :  h.  bowed  forward  :  1.  shoulder 

unshaded.  S.&D.,i63o.  89x75 

28  B.  of  Old  Man  with  Flowing  Beard  :  h.  inclined  three-quarters  r. 

S.&  D.,1630.  98x81 

29  R.  in  Fur  Cap  :  dress  light,  b.  6*.  &  D.,  1630.  5  S.  92x70 

30  R.  Bareheaded,  in  sharp  light  from  r.;  looking  over  his  shoulder :  b. 

5*.  &  D.,1630.  3S.  75^75 

31  R.  Bareheaded  and  Open-Mouthed,  as  if  shouting:  b. 

S.<2f  D.,1630.  3  S.  83x72 

32  R.  in  Cap,  Open-Mouthed  and  Staring  :  b.  in  outline. 

S.  &  D.,  1630.  51x46 

33  R.  Bareheaded,  with  ThicR  Curling  Hair  and  small  white 

collar  :  b.  S.  Ab.1630.   2  S.  57x49 

34  R.  in  Cap,  laughing  :  b.  S.(2f  D.,  1630.   6  S.  50x44 

35  R.  Bareheaded,  leaning  forward  as  if  listening:  b. 

Ab.1630.  67x53 

36  R.  Bareheaded,  leaning  forward:  b.  lightly  indicated. 

Ab.  1630-31.   4  S.  61-64x48-49 

37  H.  of  Man  in  Fur  Cap,  crying  out.  Ab.  1631.   4  S.  34x28 

38  Blind  Fiddler.  S.  &  D.,  1631.   4  S.  78x53 

39  H.  of  Man  in  High  Cap:  three-quarters  r.         Ab.  1631.  2  S.  36x22 

40  Polander  Standing  with  Stick  :  profile  to  r. 

S.&  D.,  163 1.  58x21 

41  Sheet  of  Studies  of  Men's  Heads. 

S.  {in  reverse).    Ab.  1631.    2  S.  98x124 
Ma  Old  Bearded  Man  Nearly  in  Profile  to  r.:  mouth  half  open. 

5  S.   {After  IIS.  36x28) 

Alb  Old  Man  in  Fur  Coat  and  High  Cap  :  b.  9  S.  {After HIS.  36x28) 
4lc  Old  Man  Seen  from  Behind :   Profile  to  r.:   half  figure. 

6  S.  {After  IIS.  72x42) 
Aid  Man  in  Square  Cap,  in  profile  r.  4  S.  {After  IIS.  45x23) 
Ale  Man  Crying  Out,  three-quarters  1.:  b.           7  S.   {After  IIS.  39x34) 

42  Diana  at  the  Bath.  S.   Ab,i63i.  177x158 

43  Naked  Woman  Seated  on  Mound.        S.   Ab.1631.  3  S.  177x160 

44  Jupiter  and  Antiope  :  smaller  plate.         S.   Ab.1631,  3  S.  84x112 

45  Man  Making  Water.  S.(2f  D.,  1631,  2  S.  84x49 

31 


46  Woman  Making  Water.  S.&D.,  16:^1.  Htx6^ 

47  B.  of  Old  Bearded  Man  LooKing  Down,  three  quarters  r. 

.v.  (2f  D.,  163 T.    2  S.  iigxiij 

48  B.  of  Old  Man  with  Flowing  Beard:    h.  nearly  erect:  eyes  cast 

down  :  looking  slightly  1.  S.  (2f  J) . ,  i6jr .    2  S.  67x6^ 

49  B.  of  Old  Man  with  Fur    Cap  and  Flowing  Beard:  nearly 

full  face  :  eyes  direct.  Ab.  i6]i.   2  S.  62x3.? 

50  R*s  Mother  wtth  Hand  on  Chest :  small  b. 

Si.  &D. ,1631.    4  S,    Mod.  g4x66 

51  R.*s  Mother  Seated  Facing  R.,  in  Oriental  head-dress  :  half  length. 

showing  hands.  S.  (2f  D.,  \63i.  3  S.  143x129 

52  R.'s  Mother  Seated  at  Table  Looking  R. :  three-quarter  length. 

.S*.   Ab.1631.   4  S.  147x130 

53  Bearded  Man  (R.*s  Father?)  in  Furred  oriental  cap  and  robe :  half 

length.  {After  IS.   S.  df  D).  1631.   4  S.  146x130 

54  R.  Wearing  Soft  Hat,  Cocked  :  h.  only  :  body  added  afterwards. 

Wn  IV-  VII S.    S.  (2f  D.),  1631.    9  .S*.  146x130 

55  R.  with  Long  Bushy  Hair,  h.  only.                 Ah.  1631.   6  S.  90x76 

56  R.  in  Heavy  Fur  Cap  :  full  face  :  b.                  S.& D.,1631.  63x3s 

57  R.  Wearing  Soft  Cap  :  full  face  :  h.  only                  Ab.1631.  50x44 

58  R.  with  Cap  Pulled  Forward:  b,          Ab.1631.  5  S.   Mod.  56x45 

59  R.  with  Fur  Cap,  in  oval  border  :  b.  Ab.  1631  {or  earlier).  90x53 
60t  R.  with  Bushy  Hair  and  Contracted  Eyebrows  :  b. 

S.&  D.,1631.  3  S.  59x55 

61    R.  Bareheaded,  light  from  r.:  b.  {II S.  only.        Ab.  1631.  2  S.  65x63 

62t  R.  in  Slant  Fur  Cap  :  b.  S.& D.,1631.   2  S.  63x56 

63   R.  in  Cloak  with  Falling  Collar  :  b.        S.&  D.,1631.  5  S.  64x54 

64t  R.  with  Jewel  in  Cap.  Ab.  1631.   2  S.  84x79 

65t  B.  of  Young  Man  in  Cap.     {IS.  only.   S.  &  D.),  1631.   2  S.  61x57 

66  R.  in  Dark  Cloak  and  Cap  :  b.  Ab.1631.  3  S.  84x82 

67  R.  (?)  Scowling,  in  octagon  :  h.  only.  5.   Ab.1631.  38x35 

68  Grotesque  Profile  :  man  in  high  cap.  Ab.  1631.   4  S.  38x25 

69  Peasant  with  Hands  Behind  Back.  S.& D.,1631.  4  S.  59x49 
70t  B.  of  Snub-Nosed  Man  In  Cap  :  profile  r.  5*.  &  D.,  1631.  43x38 
71t  B.  of  Man  In  Cap,  bound  round  the  ears  and  chin.     Ab.  1631.  54x38 

72  Beggar  with  Stick,  walking,  1.  S.&  D.,  163 1.  3  S.  82x39 

73  Beggar  with  L.  Hand  Extended. 

{After  I S.   S.  &  D.).  1631.  5  S.  77x50 

74  Blindness  of  Toblt :  sketch.  Ab.1631.  5  S.  81x70 

75  Seated  Beggar  and  Dog.  {IIS.  only.  S.  &  D.\  1631.  2  S.  109x81 
75*  Stout  Man  in  Large  Cloak.  Ab.1631.  113x74 
76t  Old  Woman  Seated  in  Cottage,  with  string  of  onions  on  wall. 

{IIS.  only.    S.&  D.),  163J.  3  S.  128x89 

77  Leper  **  Lazarus  Klap."  {After  I S.  S.  &  D  ,  1631).  6  S.  102x76 
77*  Beggar  Man  and  Beggar  Woman.                       Ab.1631.  101x76 

78  Two  Beggars  Tramping  Towards  R. 

{On  IIS.    S.)   Ab.1631.    2  S.  95x59 
78*  Two  Studies  of  Beggars.  Ab.  1631.  93x74 

79  Beggar  with  Crippled  Hand  Leaning  on  Stick  R. 

Ab.1631.  5  S.  97x42 

80  Old  Beggar  Woman  with  Gourd.  Ab.1631.  2  S.  Mod.  102x45 
81t  Beggar  Standing  Leaning  on  Stick  L. :  small  plate. 

(5.    Ab.  16:}  I.  42x20 

32 


82t  B.  of  Old  Woman  in  Furred  Cloak  and  heavy  head-dress. 

^.  &  D.,  1631.   5  S.  58x53 
83t  B.  of  Old  Woman  in  High  Head-Dress  bound  round  chin. 

Ah.1631.    2  S.  ^1x72 

84t  B.  of  Beardless  Man  (R.'s  Father?)  in  fur  cloak  and  cap: 
looking  down  :  three-quarters  1.        S.  (2f  D.  {twice),  1631.  3  S.  74x58 
85t  B.  of  Bald  Man  (R/s  Father  ?)  in  fur  cloak  looking  r. 

S.  (2f  D.,  163T.  3  S.  66x58 
86t  B.  of  Bald  Man  Looking  Down,  Grinning. 

.S".  &  D.,  163 1.   3  S.  6gx5l 
87t  B.  of  Old  Bearded  Man  with  High  Forehead  and  close  cap. 

S.  &  D.,  J631.    2  S.  88x74 
88t  B.  of  Old  Man  Looking  Down,  with  wavy  hair  and  beard  :  cap 
added  afterwards.  (IIS.  only.    S.)   Ah.1631.  3  S.  57x40 

89t  Small  B.  of  Bearded  Man  Looking  Down,  with  eyes  nearly 
closed.  Ab.16311   2  S.  44x44 

90   Sheet  of  Studies  :  h.  of  R.,  beggar  couple,  h.'sof  old  man  and  old 
woman,  etc.  Ab.1632.   2  S.  101x113 

9It  R.'s  Mother  in  Widow's  Dress  and  Black  Gloves. 

.S*.    Ab.1632?    Mod.  I 50x11 4 

92  Old  Man  Seated,  with  Flowing  Beard,  fur  cap  and  velvet  cloak. 

S.CffD.    Ab.1632.  3  S.    Mod.  150x129 

93  Man  Standing  in  Oriental  Costume  and  plumed  fur  cap 

S.(2f  n..  1632.   Mod.  107x78 

94  St.  Jerome  Praying  :  arched  print.  S.  <2f  D.,  1632.  3  S.  108x80 

95  Holy  Family.  5.   Ab.1632.  95x71 

96  Raising  of  Lazarus  :  larger  plate.     .S*.  Ab.  16:^2.  12  S.  Mod.  366x258 

97  Rat=Killer.  S.  iHf  B.,  1632.   2  S.  140x124 

98  Polander  Leaning  on  Stick  :  profile  1.  Ab,i632.   6  S.  82x43 

99  Turbaned  Soldier  on  Horseback. 

S.  {in  reverse).    Ab.1632.    2  S.  81x58 

100  Cavalry  Fight.  Ab  1632-3.   2  S.  108x83 

101  Good  Samaritan.  {IV  S.  only.   S .  (5' D.).  1633.   4  S.  258x218 

102  Descent  from  Cross  :  first  plate.  S.&  D.,  1633.  516x402 

103  Descent  from  Cross  :  second  plate. 

S.  (2f  D.,  1633.  5  S.  Mod.  530x410 

104  Joseph's  Coat  Brought  to  Jacob.       S.   Ab.1633.   Mod.  107x8a 

105  Flight  into  Egypt :  small  plate.  ^.  (2r  D.,  1633.   2  S.  89x62 

106  Ship  of  Fortune.  S.  &  D.,  1633.  3  S.  111x177 

107  R.*s  Mother  in  Cloth  Head=Dress,  looking  down  ;  h.  only. 

{After  I S.    S.&  D.),i633.  3  S.  62x58 

108  R.  in  Cap  and  Scarf  :  face  dark  :  b. 

{II S.  only.    S.  &  D.),  1633,    2  S.    Mod.   i46xab.  119 

109  R.  with  Raised  Sabre  :  half  length.      S.  &  D.,  1634.  3  S.  124x108 

110  R.  with  Plumed  Cap  and  Lowered  Sabre  :  three  quarter  length  : 

afterwards  b.  in  oval.  S.  &  D.,  16^4.  3  S.    Mod.  197x162 

111  Jan  Cornells  Sylvius,  Preacher.  (?) 

S.  (5"  D.,  1634.   2  S.    Mod.  167x140 

112  R.'s  Wife  Saskia,  with  pearls  in  her  hair.  b.    S.  (2f  D.,  1634.  86x66 

113  Woman  Reading.  S.  of  D.,  1634.  3  S.  123x100 

114  Peasant,  One  of  Pair,  Calling  Out.  S.  (2f  D..  1634.  112x43 

115  Peasant:  Other  of  Pair,  Replying.  S.  (2f  D 163' 4).  111x93 

116  Two  Tramps,  Man  and  woman.  Ab,  1634.  62x47 

117  Sheet  of  Two  Slight  Studies  :  one  of  two  peasants 

Ab.  1634.  45x75 

33 


118  Joseph  and  Potiphar's  Wife.     S.&D.,i634.   2  S.    Mod.  goxiii 

119  St.  Jerome  Reading.  ^S".  &  D.,  1634.   2  S.  loHxHg 

120  Angel  Appearing  to  Shepherds. 

{After  IS.    S.(2f  D.),  1634.  3  S.    Mod.  262x21 

121  Christ  at  Emmaus  :  smaller  plate.  .S".  &  D.,  1634,   101x7 r 

122  Christ  and  Woman  of  Samaria  :  among  ruins. 

S.  &  D.,  16:^4.   2  S.    Mod.   1 21x106 

123  Crucifixion  ;  small  plate.  S.   Ab.1634.   Mod.  95x67 

124  Tribute=Money.  Ab.1634.   2  S.   Mod.  73x103 

125  Stoning  of  St.  Stephen.  S.(2f  D.,  1635.   Mod.  93x83 

126  Christ  Driving  Money=Changers  from  Temple. 

(2f  D.,  1635.   2  S'  Mod.  135x167 

127  Girl  with  Hair  Falling  on.Shoulders  (The  "  Great  Jewish  Bride.") 

{After  I.  S.   S.  &  D.,  in  reverse).   1635.   4  S.  220x168 

128  Jan  Uytenbogaert,  Preacher  of  sect  of  Arminian  Remonstrants. 

(After  IIS.   S.&  D.),  T635.   6  S.   Mod.  250x187 

129  Old  Woman  Sleeping.  Ab.  1635-7.  69x52 

130  Old  Bearded  Man  in  High  Fur  Cap,  with  closed  eyes. 

kS*.  (also  S.  with  initial  R.  in  reverse).    Ab.  1635.    Mod.  112x100 

131  First  Oriental  H.   (R.'s  father?)   S.  &  D.,  1635.  2  S.   Mod.  150x124 

132  Second  Oriental  H.   (R.'s  father ?)  S.   Ab.1635.  150x125 

133  Third  Oriental  H.  S.  &.  D.,  1635.  155x134 

134  Fourth  Oriental  H.  S.  (with  initial  R.)  Ab.1635.  3  S.  158x135 
135t  H.  of  Old  Man  in  High  Fur  Cap.  Ab.  1635.  44x32 
136   Bald  Old  Man  with  Short  Beard,  in  profile  r. 

A  b .  1635 .   2  S.  66x56 

137t  Curly=Headed  Man  with  Wry  Mouth.  Ab.  1635.   2  S.  64x60 

138  Polander  Standing  with  Arms  Folded.       Ab.1635.  2  S.  51x47 

139  Quacksalver.  S.&  D.,  1635.  77x36 

140  St.  Jerome  Kneeling  in  Prayer,  I^ooking  down. 

S.(2f  D.,  1635.    Mod.  114x80 

141  PancaKe  Woman.  S.  (2f  D.,  1635.  6  S.  Mod.  109x79 
142t  Strolling  Musicians.  Ab.1635.   2  S.   Mod.  139x116 

143  Christ  Before  Pilate  :  large  plate.      S.  (2f  D.,  1635-6.  5  S.  550x446 

144  R.  and  His  Wife  Saskia  :  busts.    S.  &  D.,  1636.   2  S.   Mod.  104x95 

145  Studies  of  H.  of  Saskia  and  Others. 

S.&D.,i636.    Mod.  151x127 

146  Samuel  Manasseh  Ben  Israel,  Jewish  author. 

S.  &  D.,  1636.  3  S.  149x107 

147  Return  of  the  Prodigal  Son.  S.&  D.,1636.   Mod.  156x136 

148  Abraham  Caressing  Isaac.         S.   Ab.1637.   2  S.   Mod.  116x89 

149  Abraham  Casting  Out  Hagar  and  Ishmael. 

S.&  D.,  1637.  125x95 

150  Bearded  Man  Wearing  Velvet  Cap  with  Jewel  Clasp. 

S.Cff  D.,  1637.  95x83 

151  Young  Man  in  Velvet  Cap  with  books  beside  him. 

S.&D.,i637.   2S.  9^x83 

152  Three  Head$  of  Women,  one  asleep. 

5.  &  D.,  1637.    2  S.   Mod.  142x97 

153  Three  Heads  of  Women,  one  lightly  etched. 

Ab.1637.   2  S.  127x102 

154  Study  of  Saskia  as  St.  Catherine  (The  "  Ivittle  Jewish  Bride") 

S.&  D.  (in  reverse),  1638.  110x78 

34 


155  Sheet  with  Two  Studies:  A  tree  and  upper  part  of  h.  wearing 

velvet  cap.    H.  Ad.i6j8,'  tree  possibly  later .  78x67 

156  R..  in  Velvet  Cap  and  Plume,  vs^ith  an  embroidered  dress  :  b. 

►S".  &.  D.,  1638.    Mod.  134x103 

157  R.  in  Flat  Cap,  with  shawl  about  shoulders. 

Ab.1638.   2  S.    Mod.  93x62 

158  Man  in  Broad= Brimmed  Hat  and  Ruff. 

S.(2f  D.,  1630  {or  1638).    Mod.  78x64 

159  Adam  and  Eve.  S,  &  D.,  1638.   2  S.  161x116 

160  Joseph  Telling  His  Dreams.     S.& D.,1638.  3  S.   Mod.  110x83 

161  Death  of  Virgin.  ^.  &  D.,  1639.   4  S.   Mod.  409x315 

162  Presentation  in  Temple  :  oblong  print. 

A  b.  1639.  3  S.    Mod.  213x290 

163  Sheet  of  Studies,  with  woman  lying  ill  in  bed,  etc.  Ab.  1639.  133x131 

164  Peasant  in  High  Cap,  standing  leaning  on  stick. 

S.  &  D.,  1639.    Mod.  83x44 

165  Death  Appearing  to  a  Wedded  Couple  from  Open  Grave. 

S.(2f  D.,  1639.  109x78 

166  Skater.  Ab.1639.  61x58 

167  Jan  Uytenbogaert,  Receiver-general  (The  "  Gold- Weigher  "). 

.S".  (2f  D.,  1639.  3  S.    Mod.  250x204 

168  R.  Leaning  on  Stone=Sill :  half-length. 

S.  &  D.,  1639.  3{f)S.  205x164 

169  Old  Man  Shading  Eyes  with  Hand.  Ab.1639.   2  S.  134x114 

170  Old  Man  with  Divided  Fur  Cap.         S.  &  D.,  1640.  3  S.  149x137 

171  Beheading  of  John  the  Baptist.  S.&  D.,1640  2S.Mod.  128x103 

172  Triumph  of  Mordecai.  Ab.  1640,  or  later.  174x215 

173  Christ  Crucified  Between  Two  Thieves:  oval  plate. 

Ab.  1640,  or  later.   2  S.    Mod.  135x100 

174  Sleeping  Puppy.  Ab.1640?  3  S.  64x105 

175  Small  Gray  Landscape  :  House  and  trees  beside  pool. 

A b.  1640.  38x82 

176  View  of  Amsterdam.  Ab .  1640  {or  earlier?)   2  S.  112x153 

177  Landscape  with  Cottage  and  Hay  Barn  :  oblong. 

^.  &  D.,  1641.  129x321 

178  Landscape  with  Cottage  and  Large  Tree.  ^.  (5' Z)..  7(5^7  125x320 

179  Windmill.  S.&  D.,  1641.  144x207 

180  Small  Lion  Hunt,  with  two  lions.  Ab.1641.   2S.  154x121 

181  Large  Lion  Hunt.  ^.  &  D,,  1641.   2  S.  224x300 

182  Baptism  of  Eunuch.  S.&D.,i64i.   2  S.    Mod.  180x213 

183  Jacob  and  Laban  (?)   S.  &  D.  {in  reverse),  1641.   2  S.  Mod.  144x113 

184  Spanish  Gipsy  (Preciosa).  Ab.1641.  133x113 

185  Angel  Departing  from  Family  of  Tobias. 

S.&  D.,  1 641.  3  S.    Mod.  103x154 

186  Virgin  and  Child  in  Clouds.  S.&  D.,  i64i.  166x104 

187  Cornells  Claesz  Anslo,  Mennonite  preacher. 

S.(2f  D.,  1641.  5  S.  186x157 

188  Portrait  of  Boy.  in  profile.  S.  (2f  D.,  1641.  93x66 

189  Man  at  Desk,  wearing  cross  and  chain.     S.(2f  D.,  1641.  4  S.  154^102 

190  Card=Player.  S.  &  D.,  1641.  3  S.   Mod.  gox8i 

191  Man  Drawing  from  Cast.  Ab.1641.   2  S.   Mod.  93x64 

192  Woman  at  Door=Hatch  Talking  to  Man  and  Children  (The 

"Schoolmaster.")  S.(2f  D..  1641.   Mod.  94x63 

193  Virgin  with  Instruments  of  Passion.         Ab.1641.   2  S.  110x88 

35 


194 
195 
196 

197 
198 

199 
200 
201 
202 
203 

204 
205 
206 
207 
208 
209 
210 
211 
212 

213 

214 
215 
216 
217 
218 
219 
220 

221 

222 

223 
224 
225 

226 
227 
228 
229 

230 

231 

232 


Man  in  Arbour. 
Girl  with  Basket. 

Sick  Woman  with  Large  White  Head=Dress  (Saskia). 

A  b.  1642.  6Txsr 

Woman  in  Spectacles,  Reading.  Ab.  1642.  77x67 

Raising  of  Lazarus;  smaller  plate. 

.S".  Cif  D.,  1642.    2  S.  Mod. 
The  Descent  from  Cross  :  sketch.  S.  Csf  D.,  1642. 

Flute=Player  (I^'Espiegle).  {After  IS.  S.  &  D.).  1642.  4  S. 
St.  Jerome  in  Dark  Chamber.  S.  i2f  D.,  1642.  2  S.  Mod. 
Student  at  Table  by  Candle  Light.  A  b.  1642.  3  S. 

Cottage  with  White  Paling. 

S.6f  I)..  1642 .    {Dateoti ly  in  // .S'. )    2  S. 

Hog. 

Three  Trees. 
Shepherd  and  Family. 
Sleeping  Herdsman. 


.S*.  c5'  I)..  1642.  72x56 
A  b.  1642.    2  S.  S6x6j-6o 


isoxiis 
148x115 

177x144 
150x173 
146x132 


Rest  on  Flight :  night  piece. 

Six's  Bridge. 

Omval. 

Boat=House. 


130x158 

S.  &  D.,  1643,    2  S.  143x154 
S.  (2f  D.,  1643.  211x280 
S.  Csf  D.,  1644.  95x67 
Ab.  1644.  78x57 
Ab.  1644.    4S.    Mod.  92x59 
S.  (2f  B.,  16/5.  3  S.  129x223 
S.  (2f  D.,  1645.    2  S.    Mod.  185x225 
S.cSfB.,  1645.   4  S.  127x133 


Cottages  BesidelCanal :  with  church  aud  sailing  boat. 

A  b.  1645.    2  S.  140x207 
Cottage  and  Farm  Buildings,  with  man  sketching. 

A  b.  1645.  129x208 

Abraham  and  Isaac.  S.  c^f  D.,  1645.   Mod.  157x130 

Christ  Carried  to  Tomb.  S,   Ab.1645.  130x107 

Rest  on  Flight :  lightly  etched.  .S".  &  D.,  1645.  129x114 

St.  Peter  in  Penitence.  5.  &  D.,  1645.  181x116 

Old  Man  in  Meditation,  leaning  on  book.  Ab.  1645.  132x106 

Beggar  Woman  Leaning  on  Stick.  S.  (2f  D.,  1646.  2  S.  Mod.  81x63 
Study  From  Nude  :  Man  seated  before  curtain. 

S.&  D.,  1646.    2  S.  164x96 
Study  From  Nude  :  Man  seated  on  ground  with  one  leg  extended. 

S.(2f  D.,  1646.  Mod.  97x166 
Studies  From  Nude:  one  man  seated,  another  standing:  with 
woman  and  baby  lightly  etched  in  background. 

A  b.  1646.  3  S.   Mod.  194x228 

Le  Lit  a  La  Francaise  (TvedekantV  S.&  D.,  1646.  3  S.  152x224 
Monk  in  Cornfield.  Ab.  1646.  48x65 

Jan  Cornells  Sylvius,  Preacher  :  posthumous  portrait. 

S.&  D.,1646.    2  S.  278x188 

Ephraim  Bonus,  Jewish  Physician.  S.  &  D.,  1647.  2S.  240x177 
Jan  Asselyn,  Painter.  S.  &  D..  16  .  .?  3  S.   Mod.  215x170 

Jan  Six.  {After  T S.   S.  <2f  D.\  1647.  3  S.   Mod.  245x191 

Rembrandt  Drawing  at  Window. 

{After  IS.)   S.(2f  D.,  1648.   5^-    Mod.  157x128 
Sheet  of  Studies  with  H.  of  R.,  Beggar  man,  woman  and  child. 

S.  1631  or  1 65 1.  111x92 

Artist  Drawing  from  Model :  unfinished  plate. 

Ab.  1648,  or  later?    2  S.   Mod.  231x184 

St.  Jerome  Beside  Pollard  Willow. 

{After  I S.)   S.(2f  D.,1648.    2  S.  179x1^2 

36 


233  Beggars  Receiving  Alms  at  Door  of  House. 

S.&  D.,  164S.   2S.    Mod.  164x128 

234  Jews  in  Synagogue.  S,  (2f  D.,  1648.  j  S.    Mod.  71x12^ 

235  Medea  :  or  Marriage  of  Jason  and  Creusa. 

{After  Fir  S.)   S.  &  D.,  1648.   5  S.  240x177 

236  Christ,  with  Sich  Around  Him,  Receiving  Little  Children 

("  Hundred  Guilder  Print.")  Ab.i64g.    2  S.   Mod.  278xj8g 

Incredulity  of  Thomas.  .S".  (2f  D.,  1650.  162x210 

Canal  with  Angler  and  Two  Swans.  S.&  D.,  1630.  2  S.  82x107 
Canal  with  Large  Boat  and  Bridge.  S.&  D.,  1650.  2  S.  82x107 
Landscape  with  Cow  Drinking.  Ab.1650.  2  S.  Mod.  ro2xi2g 
Landscape  with  Hay  Barn  and  Flock  of  Sheep. 

S.&D..1650.   2S.  83x174 

242  Landscape  with  Milk=Man.  Ab  i6so.   2  S.  63x174 

243  Landscape  with  Obelisk,  Ab,i6so.   2  S.  83x160 

244  Landscape  with  Trees,  farm  buildings  and  tower. 

A b.  1630.    4  S.  123x318 

245  Landscade  with  Square  Tower.        S.  c2f  I)..  1630.   4  S.  88x133 

246  Landscape  with  Three  Gabled  Cottages  Beside  Road. 

S.  (2f  D.,  1630.  3  S.  161x202 

247  The  Bull.  ^.  (2f  D.,  16S  .  f  76x104 

248  The  Shell.  S.  (2f  D.,  1630.  2  S.  97x132 

249  Goldweigher's  Field.  S.  &  D.,  1631.  120x319 

250  The  Bathers.  S.&D.,i6si.   2  S.   Mod.  109x137 

251  Clement  de  Jonghe,  Printseller. 

S.(2f  D.,  1631.    6  S.    Mod.  2o6xi6r 

252  Blindness  of  Tobit :  larger  plate.  S.  &  D.,  1631.  161x129 

253  Flight  into  Egypt :  night  piece.   S.&D..1631.   3  S.  Mod.  127x110 

254  Star  of  the  Kings  :  night  piece.  Ab.1632.   Mod.  94x143 

255  Adoration  of  Shepherds  :  night  piece. 

Ab.1632.    8  S.    Mod.  149x198 

256  Christ  Preaching  ("  La  Petite  Tombe.")     Ab.1632.   Mod.  133x207 

257  Christ  Disputing  with  Doctors  :  sketch. 

S.Csf  D.,  1632.  3  S.  126x213 

258  David  in  Prayer,  5".  &  D.,  1632.  3  S.   Mod.  143x93 

259  Peasant  Family  on  Tramp.  Ab.1632.   Mod.  112x92 

260  Faust  in  Study,  Watching  Magic  Disk  ("  Dr.  Faustus  "). 

Ab.1632.  3  S.    Mod.  209x161 

261  Titus  Van  Ryn,  R.'s  Son.  Ab.  1636.  101x72 

262  Sheet  of  Studies,  with  wood  and  paling.    Parts  of  two  heads,  horse 

and  cart.  Ab.1632.  108x136 

263  Clump  of  Trees  with  Vista. 

{A  fter  IS.)   S.&D.,  1632.    2  S.  133x210 

264  Landscape  with  Road  Beside  Canal.  Ab.1632.  {74-79)x209 

265  Landscape  with  Sportsman  and  Dogs.   Ab.1633.   2  S.  129x137 

266  The  Flight  into  Egypt :  Altered  from  '  Tobias  and  the  Angel"  by 

Hercules  Seghers.  Ab.1633.   7  S.  213x284 

267  St.  Jerome  Reading,  in  Italian  landscape.  Ab.  1633.   2  S.  260x207 

268  Jan  Antonides  Van  Der  Linden.  Professor  of  Medicine. 

1663.    6  S.    Mod.  {i24-\-49)xi03 

269  Lieven  Willemsz  Van  Coppenol,  Writing-Master  :  smaller  plate. 

Ab.1633.   6S.  237X1S9 

270  Christ  Crucified  Between  Two  Thieves;  large  oblong  plate 

(The  "Three  Crosses")   {After  the  II S.)   S.  &  D.,  1633.  3  S.  383x450 
37 


271  Christ  Presented  to  People  :  large  oblongr  plate. 

{After  the  VS.)    S.&  D.,  1655.    7  S.  3^3x4^ 

272  Golf-Player.  .S*.  &  D.,  1654.   2  S.   Mod.  96x144 

273  Adoration  of  Shepherds  (with  lamp). 

.S".    Ad.  1654.    2  S.    Mod.  105x129 

274  Circumcision  (in  Stable).  S.  &  D.,  1654.  3  S.    Mod.  94x144 

275  Virgin  and  Child  with  Cat :  Joseph  at  Window. 

S.  (^f  n.,  1654.   2  S.   Mod.  94x143 

276  Flight  into  Egypt :  Holy  Family  crossing  brook. 

S.  &  D.,  1654.    Mod.  94x144 

277  Christ  Seated  Disputing  with  Doctors. 

S.(2f  D.,  1654.    2  S.    Mod.  95x144 

278  Christ  Between  His  Parents,  Returning  from  Temple. 

S.  &  D.,  1654.  94x144 

279  Presentation  in  Temple  :  Dark  manner.  Ab.  1654.  210x162 

280  Descent  from  Cross  :  by  torchlight.   S.  &  D., 1654.  Mod.  210x161 

281  The  Entombment.  Ab.1654.   4S,  211x161 

282  Christ  at  Emmaus  :  larger  plate.   S.  &  D.,  1654.  3  S.  Mod.  209x159 

283  Abraham's  Sacrifice.  S.  (2fD.,  1655.  156x131 

284  Four  Illustrations  to  Spanish  Book. 

{On  each  Part  after  I S.)  S.&  D.,1655.  5  S.  The  undivided  plate  279x160 

285  The  Goldsmith.  S.  (2f  D.,  1655.   2  S.   Mod.  77x57 

286  Abraham  Entertaining  the  Angels.  S.  df  £>.,  1656.  159x131 

287  Jacob  Haaring  (The  "  Old  Haaring  ").  Ab.  1655.   2  S.  195x149 

288  Thomas  Jacobsz  Haaring  (The  "  Young  Haaring  "). 

S.  &  D.,  1655.  5  S.   Mod.  197x148 

289  Arnold  Tholinx,  Inspector  Medical  Colleges  at  Amsterdam. 

Ab.T656.   2  S.  198x149 

290  Jan  Lutma,  the  Elder,  Goldsmith  and  Sculptor. 

{After  IS.)   S.&D.,i656.  3  S.   Mod.  197x148 

291  Abraham  Francen,  Art  Dealer. 

Ab.  1656,  or  later?   9  S.   Mod.  152x208 

292  St.  Francis  Beneath  Tree,  Praying.  S.  &  D.,  1657.  2  S.  180x244 

293  Agony  in  the  Garden.     S.  (2f  D.,  165  .  .   {Ab.1657?)  Mod.  118x83 

294  Christ  and  Woman  of  Samaria  :  arched  print. 

{On  IirS.)  S.  &  D.,  1658.  3  S.    Mod.  205x160 

295  Phoenix;  or  Statue  Overthrown  :  Allegory  of  doubtful  meaning. 

S.(2f  D.,  1658.  180x183 

296  Woman  Sitting  Half  Dressed  Beside  Stove. 

S.(2f  D.,  1658.   7  S.  228x186 

297  Woman  at  Bath,  with  hat  beside  her.    S.  &  D.,  1658.   2  S.  157x128 

298  Woman  Bathing  Her  Feet  at  Brook.  S.  &  D.,1658.   Mod.  159x80 

299  Negress  Lying  Down.  ^.  &  D.,  1658.  3  S.    Mod.  80x157 

300  Lieven  Willemsz  Van  Coppenol,  Writing-Master  :  larger  plate. 

A b.  1658.   6  S.   Mod.  341x290 
300*  R.  Etching.  S.&  D.,1658.  118x64 

301  Peter  and  John  Healing  Cripple  at  Gate  of  Temple. 

S.  &  D.,  1659.   4  S.    Mod.  179x216 

302  Jupiter  and  Antiope  :  larger  plate.      S.  (2f  D.,  1659.   2  S.  139x205 

303  Woman  with  Arrow.  S,  (2f  D.,  1661.  3  S.  203x12^ 


38 


LIST   OF    THE   REJECTED  ETCHINGS 

(In  the  order  of  Bartsch  and  Seidlitz,  but  with  the  Hind  numbers.) 


Rembrandt  with  Falcon. 

Abraham  Casting  Out  Hagar  and  Ishmael : 


J26xg8 
coarsely  etched. 

81x57 

306  Abraham  Casting  Out  Haagar  and  Ishmael :  delicately  etched. 

73^53 

307  Rest  on  the  Flight.  217x165 

308  Beheading  of  John  the  Baptist.   S.  with  R.'' s  monogram.  158x124 

309  St.  Jerome  Kneeling  :  large  plate.  38qx332 

310  Hour  of  Death.  1644.  138x8^ 

311  The  Rat-Killer. 

312  Woman  Cutting  Her  Mistress's  Nails  (Bathsheba  ?). 

313  Cupid  Resting. 

314  Old  Man  in  Turban,  Standing  with  Stick. 

315  The  Astrologer.  S.f.bol. 

316  Philosopher  in  His  Chamber. 

317  Physician  Feeling  Pulse  of  Patient. 

318  A  Tramp,  with  Wife  and  Child. 

319  Peasant,  Standing. 

320  Peasant  Woman,  Standing. 

321  Beggar  in  Tall  Hat  and  Long  Cloak,  with  cottage  and  two 

figures  in  background.  118x86 

322  Sick  Beggar  and  Old  Beggar  Woman. 

323  Landscape  with  Cow;  square  tower  in  distance. 

324  Village  with  Two  Gabled  Cottages  on  Canal. 

325  Landscape  with  Coach. 

326  The  Terrace. 

327  Clump  of  Trees  Beside  Dyke=Road. 

328  Orchard  with  Barn  ("  Paysage  aux  deux  allees  "\         2  S. 

329  Village  with  Ruined  Tower. 

S.  &,D.,J.  Koninck.  1663.  100x153 

330  Landscape  with  Little  Figure  of  Man. 

331  Canal  with  Cottages  and  a  Boat.  3  S. 

332  The  Large  Tree. 

333  Landscape  with  a  White  Fence. 

334  The  Angler  in  a  Boat. 

335  Landscape  with  a  Canal  and  Church  Tower. 

336  Low  House  on  the  Banks  of  a  Canal.   Signed  P.  D.  IV. 

337  The  Wooden  Bridge. 

338  Landscape  with  Canal  and  Palisade.  D.  165^. 

339  The  Full  Hay=Barn. 

340  Cottage  with  a  Square  Chimney. 

341  House  with  Three  Chimneys. 

342  TheHay=Wain. 

343  The  Castle. 

344  The  Village  Street.  Signed  P.  D.  IV. 

345  Unfinished  Landscape.    Signed  P.  D.  IV.   16^5  {or  165^). 

346  Landscape  with  Canal,  Angler  and  milk-man. 

Signed  P.  D.  IV. 

39 


124x81 
124x95 

8gxiig 
138x108 
140XI17 
70x57 
70x54 
66x70 
5SX35 
59^36 


76x56 
72x120 
56x174 
64x177 
163x188 
75x204 
gix205 


166x182 
162x128 
goxi6r 
ii2xi3g 
80x180 
77x207 
76x207 
75x204 
99x153 
74x177 
goxi6o 
68x132 
7gxio2 
^1x153 
goxi62 

7gx2o6' 


.  r6s<).  78x67 


71x54 
56x48 

75x60 
55x50 
70x63 


Wood  cut. 


3+7    Young  M an  Seated,  with  gatne-bag.  D 
[348j  Bare=Headed  Old  Man  with  Hands  upon  Book. 

349  Bald  Old  Man  in  Profile  L. 

350  Old  Man  with  Beard,  in  Cap  :  profile  r.:  in  oval.  Mod, 

351  Man  with  Square  Beard  and  Curly  Hair. 

S.  with  R.^s  monogram  and  D.  i6jr. 
[352]  Man  Crying  Out,  three-quarters  1.:  bust. 

353  Bust  of  Man  with  Thick  Lips. 

354  Philosopher  with  Hour-Glass. 

355  The  Painter. 

356  Head  of  Young  Man  in  Broad=Briinmed  Hat :  in  octagon. 

loSxgo 

357  Young  Man  in  Broad=  Brimmed  Hat  :  lightly  etched. 

358  Bust  of  Young  Man  with  Feathers  in  Hat. 

359  Small  Head  of  Man  in  Ruff,  with  Feathers  in  Cap. 

360  White  Negro.  Signed  A  .  de  Hae. 

361  So-Called  Study  for  Great  Jewish  Bride. 

362  Old  Woman  Meditating  Over  Book. 

363  Rembrandt's  Mother  :  bust. 

364  White  Negress.  S.  with  R.'s  monogram,  in  reverse. 

365  Head  of  Old  Woman  :  Cut  as  far  as  band  round  brow. 

6*.  with  R.^s  monogram 

366  Young  Woman  Reading. 

367  Head  and  Shoulders  of  Dog  :  sketched  in  corner  of  plate 

368  Slight  Study  of  Woman's  Head. 

369  Head  and  Bust  of  Man  with  Beard  :  looking  down  towards  1. 

79x63 

370  View  of  Amsterdam. 

371  Two  Cottages  with  Pointed  Gables. 

372  Village  Divided  by  Dyke.  Signed  P.  D.  ]V. 

373  Angler  in  Boat. 

374  Landscape  with  Two  Anglers. 

375  Two  Ruined  Cottages. 

376  Old  Barn. 

377  Supposed  Portrait  of  Jan  Six. 

378  Profile  of  Old  Bearded  Man  in  Turban. 

379  Profile  of  Jewish=Looking  Old  Man  in  Fur  Cap. 

380  Old  Man  with  Pointed  Beard. 

381  Head  of  Man  with  Curly  Hair  and  Thin  Moustache. 

382  Jew  Standing. 

383  Head  of  Rembrandt's  Mother. 

384  Portrait  of  Rembrandt. 

385  Child  Asleep. 

386  Bathsheba. 

387  Old  Man  in  Broad=Brimmed  Hat :  bust  in  profile. 

388  The  Circumcision. 

{ITS.  only.    S.)  Rembrandt  fecit.    2  S.  2i4-x.'r65—i6o) 

389  Head  of  Old  Man  with  Snub  Nose  :  in  cap :  profile  to  1.  27x2/ 


92x67 
72x52 
31x27 
120x102 
135x97 

79x63 
112x83 

36x43 
106x102 
118x150 

64x55 


58^175 
66x173 
76x183 
83x182 
81^180 
113x181 
73^114 
'46^45 
45^31 
47^29 

63^53 
63^5  r 
51^40 
50^.41 
54^52 
381^40 
146^112 
5i's.3i 


40 


THE  GOODSPEED 

Louis  A.  Holman, 


Of  iytto  es!  to  au  Ic^i: . 
f-rints  and  of  , 

1.  Arthur  William  Heintzelman,  Etcher 

2.  S«ars  Gallagher*s  Etchings  of  Boston 

3 .  Hornby's  Etchings  of  the  Great  War 

4.  Rembrandt  and  hit  Etchings 

Ik  Pyeparation^ 

5.  The  Aquatints  of  John  Taylor  Arms 

6.  The  Work  of  Wenceslaus  Hollar. 

From  the  Gtf  man  of  Guilav  Parthe:^ 

7.  Early  English  Engraved  Portraiu 

By  Alfred  IVhiiman 

Others  to  follow 
25  cents  each,  postpaid 

GOODSPEED'S  BOOKSHOP,  5a  Park  St. 
BOSTON 


ds  Co.,  PHiNTKRa.  Boston 


